DOCSLIB.ORG

Investigación Y Creación Teatral

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Investigación Y Creación Teatral ACOTACIONES INVESTIGACIÓN Y CREACIÓN TEATRAL TERPSICHORE ON STAGE: RESEARCH AND PRACTICE IN DANCE TERPSÍCORE EN ESCENA: INVESTIGACIÓN Y PRÁCTICA EN DANZA Cristina de Lucas e Idoia Murga Castro (eds.) 43 julio-diciembre DE 2019 ACOTACIONES INVESTIGACIÓN Y CREACIÓN TEATRAL julio-diciembre 2019 Portada: Electra, de Antonio Ruz. Ballet Nacional de España. Foto: James Rajotte © RESAD, 2019. Avenida de Nazaret, 2. 28009 Madrid. © Miguel Ballarín © Lucía Bernardo Suárez y Cristina Henríquez Laurent © Fernando López Rodríguez © Antonio Ruz Los autores de los textos dramáticos y sus representantes legales son los únicos que pueden autorizar la representación, lectura pública, adaptación o traducción de sus obras. ISSN 2444-3948 La revista Acotaciones puede consultarse on-line en: http://www.resad.es/Acotaciones/index.php/ACT/index Y sus números e índices pueden encontrarse en: DIALNET (Servicio de Alertas Informativas y de Acceso a los Contenidos de la Literatura Científica Hispana.) y REBIUN (Red de Bibliotecas Universitarias.). La revista Acotaciones está indizada y evaluada en: LATINDEX (Sistema Regional de Información para las Revistas Científicas de América Latina, el Caribe, España y Portugal), RECSH (Revistas Españolas de Ciencias Sociales y Humanidades.), MLA (Modern Language Association Database), MIAR (Matriz de Información para el Análisis de Revistas) y Scopus. La Redacción de Acotaciones no comparte necesariamente las opiniones expresadas por quienes firman los artículos y reseñas. ACOTACIONES INVESTIGACIÓN Y CREACIÓN TEATRAL IIª ÉPOCA, Nº 43 julio-diciembre 2019 Director Fundador: Ricardo Doménech. Director: Fernando Doménech Rico. Editores técnicos: Emeterio Diez Puertas y Luis Sánchez de Lamadrid Diseño: Luis Lorenzo Lima. Consejo de Redacción: Nuria Alkorta, Felisa de Blas, Ana Contreras, Sol Garre, Diana I. Luque, Nieves Martínez de Olcoz, Idoia Murga Castro, David Ojeda, Domingo Ortega, Itziar Pascual, Margarita Piñero, Jorge Saura, Stefan Schrec- kenberg, Guadalupe Soria. Comité Científico (Referees) nº 43. Los artículos presentados en este número han sido evaluados por revisores externos anónimos pertenecientes a las siguientes instituciones: Kingston University, Real Escuela Superior de Arte Dramático, The Cuny University of New York, Universidad Carlos III de Madrid, Universidad Complutense de Madrid, Universidad de Buenos Aires, Universidad de Málaga, Universidad de Oviedo, Universidad Europea de Madrid, Universi- dad Internacional de Andalucía, International Independent Scholars. Comité Editorial: Joaquín Álvarez Barrientos (CSIC), José Luis García Barrien- tos (CSIC), Susanne Hartwig (Universidad de Passau), José Gabriel López An- tuñano (UNIR), Emilio Javier Peral Vega (Universidad Complu-tense), Eduardo Pérez Rasilla (Universidad Carlos III), José Romera Castillo (UNED), Héctor Urzaiz Tortajada (Universidad de Valladolid), Jorge Urrutia (Universidad Carlos III). Consejo Asesor: Andrés Amorós (Universidad Complutense), Úrsula Aszyk (Universidad de Varsovia), Manuel Aznar Soler (Universidad Autónoma de Barcelona), José María Díez Borque (Universidad Complutense), Víctor Dixon (Universidad de Dublín), Dru Dougherty (Universidad de California), Luis Fernández Cifuentes (Universidad de Harvard), Wilfried Floeck (Universidad Justus-Liebig-Giessen), Luciano García Lorenzo (CSIC), Francisco Gutiérrez Carbajo (UNED), María Grazia Profeti (Universidad de Florencia), Javier Huerta (Universidad Complutense), Anita L. Jonson (Universidad de Colgate), Jean-Marie Lavaud (Universidad de Borgoña), Robert Lima (Universidad de Pensilvania), Javier Navarro de Zuvillaga (Universidad Complutense), Mercedes de los Reyes Peña (Universidad de Sevilla), Francisco Rodríguez Adrados (Uni- versidad Complutense), Evangelina Rodríguez Cuadros (Universidad de Valen- cia.), Phyllis Zatlin (Universidad de Rutgers). La revista Acotaciones puede consultarse on-line en: http://www.resad.com/Acotaciones/index.php/ACT SUMARIO POLÍTICA EDITORIAL 9 Presentación del monográfico, CRISTINA DE LUCAS E IDOIA MURGA CASTRO 11 Presentation of the monograph, CRISTINA DE LUCAS AND IDOIA MURGA CASTRO 15 ARTÍCULOS DANIEL VALTUEÑA, Loser Like Israel Galván: Epic Fails in La fiesta 21 ANA ABAD CARLÉS, Beyond the Mystique: The Effect of the #MeToo Movement in Dance 45 ELOY V. PALAZÓN, How Can Bodies Perform The Financial Crisis? The Financialized Bodies in Cristal Pyte and Sharon Eyal’s Choreographies 75 VICTORIA MATEOS DE MANUEL, El desencanto de lo comunitario. Tres modos de danza en Nietzsche BLANCA GÓMEZ CIFUENTES, Escenarios para el progreso: el ballet Excelsior en la Exposición 101 Universal de Barcelona de 1888 EVA LARA HUETE, Los matachines: el personaje y sus acciones 129 CARTAPACIO 157 Presentación: Danza y Texto, de CRISTINA DE LUCAS Electra, Introducción de ANTONIO RUZ Electra, de ANTONIO RUZ 181 Transfórmate. Una historia de la danza contemporánea 191 para todos. Investigación para educar desde el escenario, 209 de LUCÍA BERNARDO SUÁREZ y CRISTINA HENRÍQUEZ LAURENT Una historia de la danza. Transfórmate, de LUCÍA BERNARDO SUÁREZ y CRISTINA HENRÍQUEZ 223 Auto-Etnografía de un proceso creativo en danza, de FERNANDO LÓPEZ RODRÍGUEZ H2Ohno, de FERNANDO LÓPEZ 241 Inventario, Introducción de MIGUEL BALLARÍN Inventario, de MIGUEL BALLARÍN 257 269 277 CRÓNICA 283 LAURA HORMIGÓN, Las celebraciones por el Bicentenario de Marius Petipa IRENE LÓPEZ ARNAIZ, Repensar El sombrero de tres picos cien años después 299 Reseñas SARA ARRIBAS COLMENAR, Dance and the Philosophy 307 of Action, de Graham McFee CLAUDIA CARBAJAL, Victoria Ellis. Bailarina cósmica, Historia de Danza y Raza en la posrevolución mexicana, de Patricia Aulestia y Mitchell Snow 311 ANA I. ELVIRA, La gente del 98 ante el flamenco, de Eugenio Cobo SOL GARRE, Interpretación para bailarines. 315 Fundamentos teóricos y cien ejercicios prácticos, de Jordi Fàbrega Górriz 319 MARÍA NIEVES MARTÍNEZ DE OLCOZ, Israel Galván. Bailar el silencio, de Corinne Frayssinet- Savy 323 INMACULADA MATÍA, Mariemma y su tiempo, de VVAA BEGOÑA OLABARRIA, Historia de la danza 329 contemporánea en España, vol. 1. De los últimos años de la dictadura hasta 1992, de V VA A 333 GONZALO PRECIADO, La investigación en danza, de V VA A 337 NORMAS EDITORIALES 339 343 POLÍTICA EDITORIAL La RESAD viene editando libros, revistas, folletos y demás publicaciones en distintos formatos y soportes desde 1992. En la actualidad su línea editorial se desarrolla en cuatro ámbitos: ediciones informativas con contenido administrativo destinadas a los alumnos, ediciones de textos teatrales de los egresados en Dramaturgia, ediciones académicas, con manuales, ensayos, monografías o la Colección Biblioteca Temática RESAD y, finalmente, ediciones periódicas. Dentro de estas últimas se encuentra la revista semestral de investigación y creación teatral ACOTACIONES. La revista se articula en tres apartados. La sección de Artículos publica investigaciones inéditas (y sometidas a revisión por evaluadores externos.) en cualquiera de los ámbitos desde los que se puede abordar el estudio del teatro: literatura dramática, espectáculo teatral, interpretación, dirección de escena, escenografía, recepción, historia social, sociología del teatro, filosofía y teatro, etc. La sección Cartapacio publica un texto teatral breve y otro de duración convencional de algún autor relevante o emergente en el ámbito actual de la literatura dramática en castellano. El texto largo va acompañado de un estudio del autor y de un apéndice que recoge su producción dramática. Finalmente, la sección Crónica recoge noticias de interés sobre el teatro producidas a lo largo del año (congresos, exposiciones...) e incluye una sección de reseña de libros y revistas teatrales. Todos nuestros libros se editan con empresas privadas, por una evidente razón: la distribución y venta de los libros en las mejores condiciones y con las máximas facilidades para el lector. La labor de la RESAD es seleccionar el material a editar y subvencionarlo para que esté en el mercado, llegando así a su público potencial: profesores y estudiantes de teatro, investigadores, profesionales, promotores y productores teatrales, lectores de literatura dramática, bibliotecas y centros de documentación y, en líneas generales, cualquier persona interesada en el teatro. A cambio de esa inversión, la RESAD recibe un determinado número de ejemplares que distribuye interiormente o bien dona a bibliotecas. Presentación TERPSÍCORE EN ESCENA: INVESTIGACIÓN Y PRÁCTICA EN DANZA Cristina de Lucas e Idoia Murga Castro Con la voluntad de potenciar y dar visibilidad a los todavía poco exten- didos dance studies o estudios de danza en el contexto de la reflexión y la creación escénicas en España, las editoras de este número monográfico recibimos el encargo de la dirección de llevar el foco teatral de la re- vista Acotaciones al arte de Terpsícore en la investigación y la práctica. Desde el principio nuestra intención fue la de diseñar un número que evidenciara la variedad de perspectivas y la profundidad de reflexión que la disciplina dancística puede ofrecer. Asimismo, buscamos abrir los contenidos al exterior, entendiendo que la investigación en España tiene mucho que aportar fuera de sus fronteras y, a su vez, tiene mucho de lo que nutrirse de lo que allí se produce. Cumpliendo nuestras premisas iniciales, este volumen finalmente reúne los resultados de investigaciones que estudian obras de danza de periodos históricos y contextos geográficos que abarcan desde el siglo XVIII hasta la actualidad y desde el territorio español hasta
Load more

Recommended publications
  • Danc Scapes Choreographers 2015
    dancE scapes Choreographers 2015 Amy Cain was born in Jacksonville, Florida and grew up in The Woodlands/Spring area of Texas. Her 30+ years of dance training include working with various instructors and choreographers nationwide and abroad. She has also been coached privately and been inspired for most of her dance career by Ken McCulloch, co-owner of NHPA™. Amy is in her 22nd year of partnership in directing NHPA™, named one of the “Top 50 Studios On the Move” by Dance Teacher Magazine in 2006, and has also been co-director of Revolve Dance Company for 10 years. She also shares her teaching experience as a jazz instructor for the upper level students at Houston Ballet Academy. Amy has danced professionally with Ad Deum, DWDT, and Amy Ell’s Vault, and her choreographic works have been presented in Italy, Mexico, and at many Houston area events. In June 2014 Amy’s piece “Angsters”, performed by Revolve Dance Company, was presented as a short film produced by Gothic South Productions at the Dance Camera estW Festival in L.A. where it received the “Audience Favorite” award. This fall “Angsters” will be screened on Opening Night at the San Francisco Dance Film Festival in California, and on the first screening weekend at the Sans Souci Festival of Dance Cinema in Boulder, Colorado. Dawn Dippel (co-owner) has been dancing most of her life and is now co-owner of NHPA™, co-Director and founding member of Revolve Dance Company, and a former member of the Dominic Walsh Dance Theatre. She grew up in the Houston area, graduated from Houston’s High School for the Performing & Visual Arts Dance Department, and since then has been training in and outside of Houston.
    [Show full text]
  • KC Dance Day Saturday, August 24Th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity
    FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.213.4355 [email protected] For Tickets: 816.931.8993 or www.kcballet.org KC Dance Day Saturday, August 24th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity KANSAS CITY, MO (July 18, 2019) — Kansas City Ballet will kick-off its 62nd season with the 9th Annual KC Dance Day at the Todd Bolender Center for Dance & Creativity (500 W. Pershing, Kansas City, MO 64108) on Saturday, Aug. 24th from 9:00 a.m. to 6:00 p.m. The entire day will feature FREE dance performances, classes, demonstrations and FUN for the whole family. In addition, attendees may relax under a tent with food and beverages on sale from Two Guys and a Grill. “KC Dance Day is THE kick-off event of the new season,” Artistic Director Devon Carney said. “Well over a thousand Kansas Citians will join us for this open house and fun-filled day of dance featuring a multitude of Kansas City area dance organizations as well as many opportunities to join the fun. And as a bonus, our Company and Kansas City Ballet Second Company dancers will be in rehearsals so guests will get to see excerpts from the upcoming season.” KC Dance Day Schedule August 24, 2019 For more information, please visit our website at www.kcballet.org. FREE Children’s and Adult Dance Classes Doors open at 8:30 a.m. Classes start at 9:15 a.m. KC Dance Day Presented by Kansas City Ballet at the Todd Bolender Center for Dance & Creativity on Aug.
    [Show full text]
  • Dance Top Ten for 2015
    Dance Top 10 for 2015: Women had an outsized role on this year's list Aparna Ramaswamy, co-artistic director of Ragamala Dance, in "Song of the Jasmine." (Alice Gebura) Laura Molzahn With shows by Wendy Whelan in January, Carrie Hanson in March, Onye Ozuzu in August, Twyla Tharp in November, and the female choreographers of Hubbard Street's winter program this weekend — well, 2015 has proved the year of the woman. That shouldn't be remarkable, because women predominate in dance, but it is. You'll find an unusually high number of additional picks by women in my chronological list below of the top 10 dance works of the last year — along with some fine representatives of the other sex. "Song of the Jasmine," Ragamala Dance, April at the Museum of Contemporary Art: Minneapolis-based mother-daughter team Ranee and Aparna Ramaswamy, collaborating with innovative composer-saxophonist Rudresh Mahanthappa, commingled jazz, carnatic music and bharata natyam dance in this synergistic, utterly contemporary evening-length piece. As a performer, Ramaswamy elicited the essence of the feminine; moving precisely, delicately, she used her hands and face so wholeheartedly you could smell heavenly jasmine yourself. "A Streetcar Named Desire," Scottish Ballet, May at the Harris Theater: In a brilliantly structured reimagining of the Tennessee Williams classic, choreographer Annabelle Lopez Ochoa, aided by theater and film director Nancy Meckler, wasted not a moment or a step as she created empathy with Blanche (no easy task) and with the story's gay lovers (unseen in the play). In this lush, emotional work — Lopez Ochoa's first full-length narrative ballet — the sparing use of point work gave it all the more impact.
    [Show full text]
  • 125Th Street, Harlem, NY
    APOLLO ANNUAL REPORT 2016-17th 125 Street, Harlem, NY 1 TABLE OF CONTENTS APOLLO MUSIC APOLLO COMMUNITY LEADERSHIP Page 10 Page 16 Page 4 APOLLO DANCE APOLLO EDUCATION ELLA FITZGERALD Page 12 Page 18 CENTENNIAL CELEBRATION Page 6 APOLLO THEATER APOLLO IN THE MEDIA Page 13 Page 20 WOMEN OF THE WORLD Page 8 APOLLO SIGNATURE APOLLO CELEBRATIONS Page 14 Page 22 APOLLO PEOPLE STATEMENT OF Page 27 OPERATING ACTIVITY Page 24 APOLLO SUPPORTERS Page 28 STATEMENT OF FINANCIAL POSITION Page 26 JOIN THE APOLLO Page 30 “Since its inception, the Apollo Theater has been home to legendary and FROM OUR up-and-coming artists alike, serving as an ever-changing, driving force in popular music and culture, not only in Harlem but across the world.” LEADERSHIP Jonelle Procope, President and CEO of the Apollo Theater We are delighted to share this Annual Report highlighting It is an incredible honor to bring my voice to the Apollo’s the incredible accomplishments of the Apollo’s season. Key storied legacy and exciting future. My first season at the milestones from the 2016-2017 season include welcoming Apollo has been a whirlwind of inspiring and innovative Kamilah Forbes as the new Executive Producer; presenting performances and programs. I especially want to mention The First Noel, the first multi-week run of an Apollo-Presents the four-day Women of the World Festival, which was show on the iconic Mainstage; and welcoming popular anchored by a special tribute concert to the incomparable Brooklyn-based festival, Afropunk, for their first appearance artist/activist Abbey Lincoln.
    [Show full text]
  • Ballet Hispanico's El Beso
    http://fashionreverie.com/?p=9133 Ballet Hispanico’s El Beso April 27, 2014 by William S. Gooch Gustavo Sansano”s “El Beso” Ballet Hispanico’s season at the Joyce Theatre clearly demonstrates that the company under the helm of Eduardo Vilario is evolving in a direction that expands beyond the traditional Latin themes that the company had become associated under its founder Tina Ramirez. Some arts pundits may say this is a step in the right direction, while others might champion a return to the tried and true. The real test of this directional shift is audience reaction. And based on the cheers and bravos on Ballet Hispanico’s opening night at the Joyce, Vilario has found a choreographic revitalization that has audience appeal. Two of the pieces in the mixed bill on the Opening Night program have been reviewed in a previous Fashion Reverie review, so the focus of this review will concentrate mostly on Ballet Hispanico’s new work, El Beso. In the vein of Twyla Tharp’s Push Comes to Shove, Gustavo Ramirez Sansano’s El Beso with costumes by Angel Sanchez, like many choreographers of his ilk, ingeniously combine dance vocabulary from a wide range of dance styles and idioms. There are nods to Graham, Cunningham, Tharp, Horton, lyrical jazz, classical ballet, with a little Forsythe thrown in for good measure. This hodgepodge of seemingly diverse dance styles requires dancers that have incredible versatility and have the technical dexterity and experience working in this dance hybrid. Ballet Hispanico’s current rosters of dancers are definitely up to the challenges of Sansano’s choreography.
    [Show full text]
  • Atheneum Nantucket Dance Festival
    NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes.
    [Show full text]
  • Ballet Hispanico Brings Machismo to the Joyce
    http://outandaboutnycmag.com/ballet-hispanico-brings-mashismo-to-the-joyce/ Ballet Hispanico Brings Machismo To The Joyce By Walter Rutledge Ballet Hispanico presented their two-week New York City season at the Joyce Theater, Tuesday, April 15 through Sunday, April 27. The enterprising season featured four different programs over fourteen performances. The Program A featured two Joyce Theater premieres, Umbral by Edgar Zendejas and Sombrerisimo by Annabelle Lopez Ochoa; and a world premiere El Beso by Gustavo Ramirez Sansano. The first thing that becomes strikingly evident is the company’s strong roster of male dancers and their dominant role in the present repertoire. There is bravura and an unabashed machismo that exudes from the male performers; and to the credit of Artistic Director Eduardo Vilaro, the persona doesn’t come across as a theatrical facade. Instead the dancers exude a confidence and comfort in the choreography. Umbral by choreographer Edgar Zendejas draws the audience into the ethereal world surrounding the beloved Mexican celebration Dia de los Muertos (Day of the Dead). The holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died. Although Dia de los Muertos coincides with the Catholic holiday called All Soul’s and All Saint’s Day, the indigenous people have combined this with their own ancient beliefs of honoring their deceased loved ones. Jamal Callender and Joshua Winzler open the work, they share the stage with a motionless group of dancers, who sit with their backs turned. The encounter is more of a shared experience than a traditional duet.
    [Show full text]
  • Annabelle Lopez Ochoa Blends Energy with Emotion in Her
    Style Meets Substance Annabelle Lopez Ochoa blends energy with emotion BY LAURA KUMIN in her choreography. It’s 3:00 in the afternoon in Madrid and the air in the rehearsal studio of Spain’s Compañía Nacional de Danza is dense With more than 30 works completed of dance theater aesthetic.” Their season with concentration. Sixteen dancers are since her acclaimed duet Before After at the Joyce includes Lopez Ochoa’s rehearsing Annabelle Lopez Ochoa’s In for the Dutch National Ballet in 2002, sexy, leggy duet, Locked Up Laura; her Transit, in preparation for its January Lopez Ochoa is in demand worldwide. zany satire, Mad’moiselle; and Nube premiere. The dance is filled with rapid She has been commissioned by large Blanco, the first piece in which she ex- crossings, encounters, and occasional companies like Pacific Northwest Ballet, plored her Latina heritage. (Her father is collisions. One lone woman sits quietly Pennsylvania Ballet, the Scapino Ballet, Colombian and her mother Belgian.) on a bench center stage, observing the and the Royal Ballet of Flanders. She American Ballet Theatre star Daniil nonstop commotion around her. When is equally at home with smaller groups Simkin, a regular on the international the others exit she begins a legato, emo- such as Chicago’s Luna Negra Dance gala circuit, asked Lopez Ochoa if he tional solo resonant of the isolation of Theater, Seattle’s Whim W’Him, and could perform her La Pluie, which he’d the individual in the midst of a crowd. Philadelphia’s BalletX, in addition to her seen on YouTube.
    [Show full text]
  • BALLET HISPÁNICO in Collaboration with the APOLLO THEATER
    http://don411.com/ballet-hispanico-in-collaboration-with-the-apollo-theater-presents-the-world- premiere-of-annabelle-lopez-ochoas-tiburones-a-restaging-of-naci-by-andrea-miller-con-brazos- abiertos-by-michelle-manzana/#.XcBxLZJKjct BALLET HISPÁNICO in collaboration with THE APOLLO THEATER presents The World Premiere of Annabelle Lopez Ochoa’s Tiburones A Restaging of Nací by Andrea Miller Con Brazos Abiertos by Michelle Manzanales November 22-23, 2019 at 8:00pm Views: 50 BALLET HISPÁNICO in collaboration with THE APOLLO THEATER presents The World Premiere of Annabelle Lopez Ochoa’s Tiburones A Restaging of Nací by Andrea Miller Con Brazos Abiertos by Michelle Manzanales November 22-23, 2019 at 8:00pm Ballet Hispánico, the nation’s premier Latino dance organization, returns to the Apollo stage on Friday and Saturday, November 22 and 23, 2019 at 8:00pm with a program that continues its commitment to staging works by female, Latinx choreographers. Ballet Hispánico is sponsored by GOYA, which has sponsored the company since 1977. In the World Premiere of Tiburones, Annabelle Lopez Ochoa addresses the discrimination and stereotypes placed upon Latinx culture and the power the media has in portraying these themes by diminishing the voices of Latinx artists. Ochoa will deconstruct gender roles and identity to revitalize an authentic perspective of Puerto Rican icons appropriated within the entertainment industry. In this restaging of Nací (2009), choreographer Andrea Miller draws from the duality of her Spanish and Jewish-American background and employs her distinctive movement style to investigate the Sephardic culture of Spain, with its Moorish influence and profound sense of community, despite hardship.
    [Show full text]
  • Download the Program Here
    Pittsburgh Ballet Theatre thanks the following organizations and individuals for their support of Open Air: A Series in Celebration of the Performing Arts. SERIES SPONSORS MEDIA SPONSOR FESTIVAL SPONSORS Vivian and Bill Benter Ryan Memorial Foundation CELEBRATION SPONSORS 84 Lumber and Nemacolin Steffie Bozic The Remmel Foundation Charlotte and David Stephenson EVENT SPONSORS Citizens DDI Greater Pittsburgh Arts Council Hefren - Tillotson, Inc. Highmark Blue Cross Blue Shield Dorrit and David Tuthill 2 TABLE OF CONTENTS Pittsburgh Ballet Theatre was 5 Message from the Artistic Director founded by Loti Falk Gaffney 6 Message from Series Sponsor BNY Mellon and Nicolas Petrov in 1969. 8 Message from Safety Sponsor MSA Safety PBT’s Artistic 10 Program A - Casting and Credits Directors: Nicolas Petrov 12 Program A - Program Notes 1969-1977 John Gilpin 15 Program B - Casting and Credits 1977-1978 17 Program B - Program Notes Patrick Frantz 1978-1982 20 Orchestra - Musicians Patricia Wilde 1982-1997 22 Orchestra - Program Notes Terrence S. Orr 1997-2020 25 Participating Organizations Susan Jaffe 2020-present 26 Keep Us Dancing Honor Roll 28 Board of Directors 31 Pittsburgh Ballet Theatre Staff MISSION STATEMENT To be Pittsburgh’s source and ambassador for extraordinary ballet experiences that give life to the classical tradition, nurture new ideas and, above all, inspire. Pittsburgh Ballet Theatre is supported, in part, by the National Endowment for the Arts, a federal agency; the Pennsylvania Official Piano of Council on the Arts, a state agency;
    [Show full text]
  • 2 Constructing and Deconstructing Dancing Puzzle Shapes
    ARTS IMPACT LESSON PLAN Dance and Math Infused Lesson Lesson Two: Constructing and Deconstructing Dancing Puzzle Shapes Author: Debbie Gilbert Grade Level: Kindergarten Reference: Sue Grote, Grant Center for the Expressive Arts, Subtracting Puzzle Shapes (Some and Some Went Away) Enduring Understanding Addition and subtraction can be represented by adding to and taking away from numbers, shapes, objects, or dancers. Lesson Description (Use for family communication and displaying student art) In this math and dance lesson, students observe addition and subtraction with objects and dancers. They add one dancer at a time until five dancers construct a puzzle shape by freezing over, under, around, through, or beside the other dancers, then subtract one dancer at a time to deconstruct the puzzle shape. Students perform and reflect on the connection between addition and subtraction in dance and math. They solve equations that correspond to the number of dancers in the puzzle shapes. Learning Targets and Assessment Criteria Target: Demonstrates addition by constructing a puzzle shape with a group. Criteria: Adds to a shape by dancing in when given a numerical cue, and freezing over, under, around, through, or beside four other dancers. Target: Demonstrates subtraction by deconstructing a puzzle shape with a group. Criteria: Takes away from a shape by floating away when given a numerical cue. Target: Solves addition and subtraction equations that correspond to the number of dancers. Criteria: Adds and subtracts to show how many dancers are in
    [Show full text]
  • DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
    DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991).
    [Show full text]